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Originally Posted by christianm77
You're also right... I teach a very, very complicated subject, the scholarly AND spiritual interpretation of the Bible, so it's linguistics, literary analysis, comparative literature, archaeology, historiography, history, doctrine, ethics, spirituality, everyday life, counseling, relationships... all distilled into reading a set text, a Sunday's lectionary readings. I have identified certain skills that provide strategic access to a bunch of the others. Getting them right sets students up to do the rest. I focus on those skills. Some are mechanical, they feel rote, students gripe. But 10 years later I get e-mails as they discover what the core-task approach does for their work.
I guess I unconsciously fell into that concept for improvisation. Learn to play good jazz well. Drill it, assimilate it, soak in it, love it. When I whistle for my horses every morning, I often whistle a Raney solo! The horses look at me funny. Sometimes I just skat the time of the notes. Just play with it.
I have moments when I think that deeper stuff is happening. However slow it goes, i can at least play stuff that sounds good!
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11-27-2019 11:07 PM
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Doesn’t Barry Harris outline blues as
C7 | F7| C7 | C7 |
Bb7 | Bb7 | Cmaj7 F | E-7 A7 |
D-7 | G7 | Cmaj7 A7 | D-7 G7 :||
Thus the first 6 bars are like b7 blues and the final 6 bars are like Major 7th blues.Last edited by rintincop; 12-01-2019 at 06:26 PM.
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Originally Posted by rintincop
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Originally Posted by rintincop
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Originally Posted by rintincop
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I notice the Parker Omni book shows a lot of F blues (Au Privave)
|| Fmaj7 | G-7 C7 | Fmaj7 | C-7 F7| ... thinking for the first 4 bars
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I find the Omnibook changes generally (although not always) reflect Parker’s lines.
Of course with blues changes in general you can play one version of the changes over the others.
As a pointed out above, the maj7/7 clash thing is not usually so pronounced if you comp in seventhless chords such as triads, 6s or 6/9s, but in general provided you use the lug holes most things pan out fine.
The blues is a great training ground for playing over standards. It teaches one to relate most of the basic movements in the GASB to a simple functional (I IV V) template with moving chords joining one to the other.
I’m not sure this is always emphasised enough.
Here’s a nice variation
F6 | Bb7 | F6 | F7 |
Bb7 | Bbm6 | F/A | Abo7 |
Gm7 | C7 | F/A Abo7 | Gm7 C7
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Came across this. Interesting, sounds like an 8 bar blues but it's a 12-bar. I thought it was some kind of unusual progression but no, it's very straightforward. Feels like a sort of audio illusion. At least, I hear it that way. One reason is, it's not normally done like this. Generally it's just a 3-chord trick with the chords in the usual places.
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Lots of bop blues use maj. They are blues tunes with a bridge, or at least they can be. Another 12 bar by Parker... I only remember because was called last night... Barbados... the I chord has a Ima9 V7sus feel. Where did the Blue notes come from.... somehow I don't think they developed from Dominant chords.
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Reg..Where did the Blue notes come from.... somehow I don't think they developed from Dominant chords.
We can guess for days how the blues evolved...from a vocal expression to an instrument--a one chord variation..three or more chords..and of course jazz flavored..
the very early blues players most likely didnt think of themselves as blues players
and their playing was like anyone who just learned one chord at a time like many of us did
they experimented and found "wrong" notes that sounded good..I dont think there was theory involved
I remember learning my first few blues and wondered how to get "that" sound..the supposed easy to play music had some very demanding ways about it
I may teach some "kids"..they say.."hey..I want to learn to play like Jimi Hendrix or Stevie Ray.." I usually ask them if they know who Albert King is..
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Yea I loved Albert... wasn't he a lefty also.
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Originally Posted by wolflen
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Originally Posted by wolflen
And of course the jazz version of blue notes is kind of the equal tempered approximation...
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Originally Posted by ragman1
Regarding chords though. I do not know, probably there is only 3, but I heard it as (at least) illusion of, or implied "Parker changes". If I was to play this one, I'd definitely use some "ii V"s, dims ("b9"s, if you prefer it that way) and turnaround.
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Originally Posted by Vladan
I think attributing the Parker changes to a tune like this is probably a bit steep. It's a simple country blues. Extending the middle bars by using the cycle of dominants was standard practice. Jazz took it from them, not the other way round.
I think you'd find, if you played it with b9 or other sophisticated sounds, that you'd really gone too far away from the original blues feeling. Nothing to stop anyone from doing it, of course, but I wouldn't personally.
But the point was that the ordinary version seems to be unrushed, the chords falling simply where they should. The Broonzy version feels short because it is, it's been reduced from 16 bars to 12.
The way Broonzy is doing it is more like a regular jazz blues; Parker changes are more chromatic. All these 12-bar formats have their roots in the simple 3 chords but it doesn't necessarily mean that they can be substituted for each other.
This tune doesn't work for Parker's chromatic bit, the rest of the time it's okay :-)
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Originally Posted by ragman1
Seems I was hearing Jazz blues in Broonzy,
- Regarding that Jazz and Parker took it from Blues: That was exactly the point of my post.
- Regarding all various versions you mention and how it is normally done: Whatever. The only version I know is the one by Beoonzy, I first learned about it from your post.
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Originally Posted by Vladan
- Regarding that Jazz and Parker took it from Blues: That was exactly the point of my post.
- Regarding all various versions you mention and how it is normally done: Whatever. The only version I know is the one by Beoonzy, I first learned about it from your post.
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I like this one. It's happy music. No one can say it's a white blues. Listen to Gatemouth play that solo! Lovely player.
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Thanks for that ragman - enjoyed it a lot!
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Thanks, Tommo. I don't want to be a nuisance here but I like fooling around with this stuff. Here's a version I just did. I think it's fairly original. Loses some of the raw feel, of course. It's re-harmed like this.
G6 - Bm7 - Em7 - G9
CM7 - C#o - Bm7 - E7
Am7 - Ab7 - G6/E7#9 - Eb7#9/D7#9
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Anyway, we better return to sobriety... it's a jazz forum :-)
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I like this Maj7 for Blues
BLUES:
Fmaj7 | C7sus | Fmaj7 | F7 |
Bbmaj7 | Eb7 | Fmaj7 | Abdim |
G-7 | C7 | F Ab7 | Dbmaj7 Gb7 :||
And go the opposite way with RhythmChanges, all Dom 7ths with some Alts.
RHYTHM CHANGES:
Bb7 G7 | C7 F7 | Bb7 G7 | C7 F7|
Bb7 Bb7#9/D | Eb7 Edim | Bb/F G7 | C7 F7 :||
Maj7 BRIDGE:
Dmaj7 | Dmaj7 Ab7 | Gmaj7| Gmaj7 Db7 | Cmaj7 | Cmaj7 Gb7 | Fmaj7 | Fmaj7 B7 ||Last edited by rintincop; 12-03-2019 at 02:43 PM.
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Originally Posted by ragman1
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Originally Posted by Reg
He used my fender twin amp for a gig once ..very nice man..met him several times when he would play in Los Angeles..
his tune Cold Feet is still my fave..
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Originally Posted by Tal_175
John
"Why Do The World's Best Guitarists Play On the...
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